V A I B H A V
2017-2021 | VOL 1
PORT FOLIO
G U P T A
1
| Architectural Student and Designer
0 9 / 1 2 / 1 9 9 8, JAIPUR, RAJ.
VAIBHAV GUPTA
v a i b h a v g 0 9 4 @ g m a i l . c o m +
9
1
7
0
1
4
8
6
7
5
9
5
80/421, Patel Marg, Mansarovar, jaipur Rajasthan, India 302020
2017 India International School, Jaipur AISSCE SCORED 92%
October 2019 ZNDC Trophy, NASA (Zonal Trophy) Trophy Head
C
2017-Present Sushant School of Art and Architecture
December 2020 The Master Studio, ARCHMELLO Competitons (International Competiton) Honourable Mention
|
SKILLS
Hence, analysis of emotional as well as socio-cultural needs of a particular user group is an important aspect of my design process. Where poetry is said to be the sound of heart, I find it to be perfect medium that expresses the emotive energy of people and holds the power to provoke larger human population not only through words but also through spaces. Poetry provide sensual and emotional substructure to spaces that provides an order to mind, body and soul of user groups. Such poetic approach to architecture gives narrative to my design process, enhancing the focus on societal and nature-related challenges. Christopher Charles Benninger rightly said – “We can formulate ideas and concepts and nurture attitudes and ‘constructs’, but without welling up of emotions these are merely dull academia. Truth dwells in emotions of the heart. That is where poetry in architecture originates from”
January 2021 Accelerate The City, BUBBLE FUTURES Platform (International Competiton) Top 16 Enteries
A
I believe that it is only through emotions, through subjective twists in things, through the poetry of life and through the love of people that profundity in architecture emerges.
V
Y
Rhinoceros 3D with grasshopper
T
R
AutoCad
P
T
Revit
February 2021 The Tiny House Competition, VOLZERO Competitions (International Competiton) Selected in Top 50 Enteries
U
E
SketchUp
PROFESSIONAL
G
These positive provocations orchestrate life’s delicate, beautiful chaos. They are always in rigid connection with humans mind and soul which always play a key role in the creation of people-friendly designs. I find such counter-provocations in my designs that allow the spaces to challenge the psychological and physiological needs of a human experiencing that space.
O
Photoshop
January 2019 Green Lagoon Restaurant Under Er. Sanjay Gupta (Completed)
Indesign
V
To me, Architecture, Art and Music are all positive provocations that deflates negative provocations like media, politics, and economics present within our sphere of energy. Provocative design hereby, makes a socio-cultural statement. It tries to answer the sociocultural challenges of society by identifying its need and its want.
P
October 2019 D15 Trophy, NASA (Zonal Trophy) First Place
A
Provocations do not have a central definition. It is a subjective property of each individual defined by their cultural and traditional backgrounds, which also makes it temporal in nature. Such temporal nature of provocations, we live by, affects a person’s perspective towards what is good or bad, rich or poor, detailed or incomplete, yin or yang.
Design Process
2015 India International School, Jaipur AISSE SCORED 9.8 CGPA
Quantity TakeOff Lightroom Microsoft Office Word, Powerpoint, Excel
EXPERIENCE
June 2019 Fashion Designer - Versha Sethi's Boutique Jaipur, Rajasthan (Not-built due to financial reasons)
OTHER SKILLS
January 2020 Jeweller Ratnesh Nema's Residential Project Narsinghpur (Madhya Pradesh), India (To be built in May 2021)
Sketching
LANGUAGES
Hand Rendering
Hindi
Native
Physical Models
English
Fluent
H
We live in a world with constant multiple mental and physical forces affecting our daily behaviours and actions. We live by such provocations (positive and negative) that indirectly or directly become a part of how we shape our inner soul and outer reality. Yet, we are in a constant urge to find one such positive provocative energy in our lives where our inner forces are resolved. But what are these provocations?
T
B
P R O V O C A T I O N S
U
AWARDS
I
O
AND
A
Design Principle
B
HONORS
V
A
EDUCATION
2
C O N T E N T S S. NO.
01 02 03 04 05
PROJECT NAME
PAGE NO.
TESSERACT Micro Housing Project Competition Entry
03
PANCHBHUJ Hayana Centric Kala Kendra | Democratic Semester 5
07
TAT TVAM ASI Hybrid High-rise Structure | Temporal Semester 6 & Competition
15
KHOJ [PASSING BY] Community for Architecture Students and Professionals Competition Entry
19
DOAB Housing Project Semester 7
25
PEOPLE
FIRST
01
TESSERACT. A PROTOTYPICAL Typlogy Site Location Site Area Semester Studio Partners
V O L U M E
MICRO HOUSING
Micro Housing Unit Not Specified 25 sq. m Semester 8 Architecture Competition Siddharth Bagga
Z E R O
TINY HOUSE COMPETIITON 2
T
O
P
5
0
0
2
F
0
I
N
A
L
I
S
T
S
4
Project Narrative S
P
A
C
E
-
T
I
M
E
Program Narrative C
O
Tesseract is the Fourth Dimension. Its all about time, and so is architecture. Architecture flows like a stream in meadows and swirls and banks freely, but with time it erodes the soil around it and shapes the Earth to reveal new forms. These forms are ever changing - ever evolving. The tesseract is a physical manifestation of the ever changing nature of the Architecture and the evolution of the users with it. T_02
N
T
I
N
U
U
M
The structure follows a support - infill mechanism, where the support is the framed structure of the tesseract, that expands itself to meet the requirements of the user, and also to improve the quality of life the user experiences.
Progression from two different functions to overlapping bodies.
T_03
T_01
T_04
Fig. Four frustum of pyramids that form T E S S E R A C T Overlapping of Basic functions - eat, live, rest, clean - to enhance the living conditions and spatial requirements of the users
CLEAN
EAT
EAT
LIVE
REST
LIVE
REST
CLEAN
WET AREAS
Finding common interfaces to reduce the spatial volume requirement for a particular function
DINING
ENTERT.
DRESSING
Fig. Trajectory of 1/4th T E S S E R A C T
Fig. M E T A B O L I C NATURE OF MICRO HOUSING
S
P
A
T
I
A
L
P
R
O
G
R
E
S
S
I
O
N
The growth of the tesseract starts with a 9.375 sqm living accommodation that features basic human life processes - EAT, LIVE, REST, CLEAN. These are the basic requirements that a living being and we as humans require. As time passes, we expect both, the number of people residing to increaseand their requirements to enhance. As the requirements enhance, the basic living processes aslo start to develop into new functions. These functions are the results of the overlap of the basic living conditions with one another - eat and live give dining; live and rest give entertainment; rest and maintian give dressing and lastly; clean and eat gives hygiene.
5
Expandable Interface
Plans
P I V O T WALLS
Mobility
Flushed Hinges
Pivot Wall C Pivot Wall D
PLAN CLOSED
Telescopic Beam
Pivot Wall A Cooking 90 deg.
Openable
Cooking
Shelves provoding extra storage space
Counter
Pivot Wall B Washbasin 90 deg.
These intermediate functions that develop over time are accommodated by the use of Pivot walls that economically spread its arm revealing the function they are supposed to cater. The frame of the tesseract opens up in all the four sides to accommodate these pivot walls. The opening of all the pivot walls, mark the final state of the tesseract with 25 sq. m living accommodation
Pivot Wall A
aa'
Pivot Wall B
Pivot Wall E
bb'
PLAN OPEN
Pivot Wall C
Pivot Wall D
Pivot Wall A
Pivot Wall C Dining 180 deg.
Pivot Wall E Dressing 90 deg.
Hidden Bed Below Floor
Pivot Wall D Entertainment 90 deg.
Tv Set and Shelves
Openable Working Area
Dressing Table
Openable Working Area
Openable Dining Table
aa'
Ladder
Magnetic Strip to give clean close to the folding structure
Pivot Wall B
Pivot Wall E
bb'
mobile ......
A tesseract is a mobile assembly that can be transported to any part of the world with the help of trolley trucks irrespective of whether it is an urban centre or a city space.
foldable ......
All solid walls and floor are foldable allowing easy manageability to the user to create connections between indoor and outdoor as per his/her requirement
6
Sections
W or k i n g o f E x p a n s i o n a n d C o n t r a c t i o n
of Tesseract
AFRICAN BLACK WOOD
Vertical foldable panels are made in African Blackwood that provides a deep contrast with the immediate context
TELESCOPIC BEAMS
CONNECTION GAPS
CONNECTION/EXPANSION CAPS FOR COLUMN BEAM ASSEMBLY (ALL DRY)
RED HYDRAULIC PISTON
The Movable corner joints of the inner cube which help the movement of beam to happen are marked in red CONNECTION GAPS
S E C T I O N B B' CLOSED
S E C T I O N B B' OPEN
ETFE STRETCHABLE PANELS
Span between Tesseract frame taking the shape of the structure as it expands and contracts
WHITE PIVOT WALLS
The movable pivot walls are marked with white to denote their flexibility
HYDRAULIC PISTON
CUSTOMIZED HYDRAULIC AXIAL PISTONCONTROLLING DIAGNOL TELESCOPIC BEAMS
S E C T I O N A A' CLOSED
S E C T I O N A A' OPEN
SWIVEL JOINT
CUSTOMIZED CONNECTORS FOR 360 DEGREE FREE MOVEMENT
TELESCOPIC BEAM
THREE PART BEAM ASSEMBLY FREE TO MOVE – SUPPORTED BY TENSION SPRINGS
02
PANCH BHUJ.
A HARYANA CENTRIC KALA KENDRA Typology Site Location Site Area Semester Studio Partners
Institutional Aravalli Hills, Gurugram, Haryana ( India ) 4.5 Acres Semester 5 Architectural Design -
30 m wide road in front
Project
Narrative
Program
Narrative
Contoured site @ Aravallis SITE AS
KALA
1
KENDRA
AS
A
5
DEMOCRATIC SPACE
8
Enhances dignity of people
Spirit of social equality
A C O N S T I T U E N T O F A R A V A L L I S
THE FIVE MAGICAL WORDS
THE FIVE B'S THAT DEFINE ANY CITY'S CULTURE AND TRADITION
B
A local culture comprises of five fundamental elements, which are Bhesh, Bhasha, Bhojan, Bhooshan and Bhajan. The Bazaar, acts as a cocoon to these elements, protecting and presenting these five elements.
2
Gives the citizens, right to perform and the right to lie.
3
Affirmative of the public sphere.
4
5
For all individuals and accessible to all. EQUALITY
IN
Power to generate the feeling of being united
6
Where people hold the power to exercise their function
7
DIVERSITY
In giving a definition of the simple kinds of government know through the world, I have occasion to describe what I meant by a democracy and I think it, that the government in which the people retain the power, and exercise it either collectively or by representation
The vision I see is not only a movement of direct democracy, of self and codetermination and non-violence, but a movement in which politics means the power to love and the power to feel united on the spaceship Earth
JAMES WILSON Associate Justice of the United States Supreme Court
PETRA KELLY German Green ecofeminist activist
politician
and
Freedom has many difficulties and democracy is not perfect, but we have never had to put up a wall to keep our people in JOHN F. KENNEDY 35th president of the United States
Provide multi-dimensional contact that can lead to civic engagement.
RESEARCH BASED PROGRAM EXTRACTION
D E F I N I G
D E M O C R A T I C
S P A C E S
Here, our program revolves around these five elements of ’s culture, trying to touch upon every edge of its culture.
BHESH
BHASHA
BHAJAN
BHOJAN
BHOOSHAN
Commercial shops selling traditional Haryana dresses and jewelleries.
Library for haryanvi poets, writers and novelists, literary galas, comedy shows(as haryanvi poetry has humour in it).
Music And Dance classes in Kala Academy, as well as periodical music and dance shows in amphitheatres.
Local Vendor Shops who cook and sell ocal haryanvi food.
Stadiums, hostels for villagers, tribute to national wrestlers.
Currently, there are no major institutions teaching Haryanvi, no major adulations to Haryanvi poets, playwrights, or writers.
Music and dance has been the soul of Haryana. It is indeed unfortunate that folk dances such as the Ghumar, Jhumar, Gugga, Dhap, Chaupaiya, Phag, Loor and Dhamal are almost unheard of outside the state.
If we talk about Haryana's cuisine, it evokes simplicity, which seems to be neglected in Haryana. How many outside the state would have heard of Methi Gajar or Kachri ki Sabzi?
The people of Haryana especially Jats are more inclined to sports like Kabbadi and kushti. There is tradition of Akhadas and it has given various national and international level wrestlers.
No place where you can sit and try out Bajra Aloo Roti with desi Makhan and Teet ka Achar or a Bajre ki Khichri and Hara Dhania Cholia.
In these times Kushti and Kabaddi are sole source of entertainment in villages on occasions like Holi and Fagun
Dresses
Men - Dhoti, shirt, turban and a pair of shoes. Woman's - Ghaggri (a long skirt), shirt and a printed orhni which has long cloth used to drape the front area of her body. Have a lot of affinity for ornaments which are usually made of gold and silver.
Dialects
It is imperative that Haryanvi be accorded the importance that it deserves in its own state. Young men and women desiring to study the language should be provided with the necessary opportunities.
Dances and Songs
Such vivid and colourful art forms can be highlights of tourism in Haryana
Diets
Ornamental Quality
9
Block
Planning + Circulation Idea
Form Exploration and Narrative
PLACEMENT OF PROGRAMS ON DEFINITE GRID OF 5M X 5M ACCORDING TO PHASE III AND IV
PLACEMENT OF PROGRAMS AS PER THE CIRCULATION IDEAS RELATED TO DEMOCRATIC SPACES
Placement of following programs on SECOND FLOOR
Free Roam | Provocations
DELAUNAY TRIANGULATION AS REPRESENTATION OF SURFACES IN 3 DIMENSIONS.
“Where do I start”
G E O G R A P H I C SURFACES THROUGH DEALUNAY'S THEORY OF C O M P U T A T I O N A L T R I A N G U L A T I O N
LIBRARY KALA ACADEMY PERMANENT AND TEMPERORY GALLERY SEMI OPEN WORKSHOPS SEMI OPEN WORKSHOPS/KALA ACADEMY
Why can't a structure represent the sensation of what its built upon?
LOCAL VENDORS
Placement of following programs on FIRST FLOOR KALA ACADEMY
FORM EXPLORATION Rhinoceros 3D software
PERMANENT AND TEMPERORY GALLERY SEMI OPEN WORKSHOPS
Can a structure represent the emotions of what it is built upon? The structure, built on the beautiful ranges of Aravallis, protrudes up from the ground representing the same. The edginess and triangulation that creates the ranges of Aravalli are respresented in the structure through triangulation and tesselation, to make the built tructure, not a fragment on it, but a constituent of it. The sculptural existence of the structure creates here visual connection with the people walking by the streets, further creating curiosity and excitement among the visitors. UC Berkeley architecture professor Donlyn Lyndon explains in one of his essays that, ”‘Place,’ refers to spaces that can be remembered, that we can imagine, hold in the mind, and consider. This structure and its spaces enables the space to contain memories, and the installation of memories turns that structure into a place.
LOCAL VENDORS
Placement of following programs on GROUND CONTOURS RECEPTION ATRIUM STADIUM HOSTELS TRIBUTE TO HARYANA ATHLETES
A LOCAL VENDORS
COMMERCIAL SHOPS
PLACEMENT OF 5M X 5M GRID ON SITE
B C A FREE CIRCULATION NAVIGATOR
When a person enterS central atrium, he can look upon every single space of the Kala Kendra. The provocations here lead the people to certain paths which creates a sensory circulation of spaces. The viewer becomes aware of himself and of his movement through the plaza. The provocations here, hence, create an easier, clearer circulations for visitors and also allows them to look upon every edge and corner of the structure.
FINAL FORM Paper Model on Site Contours
The central protruding part of the structure depics the strength and stiffness of Haryana and its people. Haryana is a strong state, which has given India many jewels in art, science and sports. The structure here makes a statement that there is no stopping Haryana now. With it's central gallery pointing towards the sky, it announces to the onlookers, that Haryana has been looking up for the sky and beyond, connecting itself with the rest of the world and there is no limit for it.
10
Ground Floor Plan
F i r s t (above) & S e c o n d (below) F l o o r P l a n
Plan and Legends
S e c t i o n AA' (above) & S e c t i o n CC'
Plan and Legends
For details see working drawing section
cc' cc'
W40
1
W12
W13
MULTI USE SPACE DETAIL IN SHEET XXX
DETAIL IN SHEET XXX
C
SHOPS
/
OPEN
A
GALLERY
/
Z
STADIUM
/
HOSTELS
Z
/
AMPHITHEATRE
A
R
2
2 1
W32
W33
S R O DETAIL IN SHEET XXX
W41
W40
DETAIL IN SHEET XXX
SECTION AA'
ROAD | 30 M WIDE
cc'
D14
DETAIL IN SHEET XXX
D18
DETAIL IN SHEET XXX
W33 DETAIL IN SHEET XXX
W31
DETAIL IN SHEET XXX
DETAIL IN SHEET XXX
LVL + 110.3
W12
W13
DETAIL IN SHEET XXX
DETAIL IN SHEET XXX
W12
W13
DETAIL IN SHEET XXX
DETAIL IN SHEET XXX
W19 DETAIL IN SHEET XXX
A
B
cc' ARAVALLI
W34 DETAIL IN SHEET XXX
W32
3150
LVL + 113.6
D16 DETAIL IN SHEET XXX
LVL + 107
C
RANGES
Extended Balconies for Kala Kendra classes in open
Artificial Water Body
Ground Floor as Contoured Bazzar
Parapet Wall
Cantilevered Art galleries LVL + 126
2 aa' RANGES
RANGES
ARAVALLI
ARAVALLI
ROOF WITH CONCELAED BEAMS
EXTERNAL SKIN SECTION IN SHEET NO. XXXX
SCULPTURAL DETAIL IN SHEET NO. XXXX
WASHROOM
SECTION AA'
WASHROOM
FALSE CEILING FOR DETAIL REFER SHEET NO. XXX
C C LVL + 126
ROAD | 30 M WIDE cc'
Floor to Ceiling Window
Uplifted Slab for Toilets
Protruding Body from the centre ROOF WITH CONCELAED BEAMS
External Skin Section
Sculpture at entry
EXTERNAL SKIN SECTION IN SHEET NO. XXXX
SCULPTURAL DETAIL IN SHEET NO. XXXX
WASHROOM
WASHROOM
8.4 Class 4 - Wood Carving / Bone + Sandalwood Carving 8.5 Class 5 - Jewellery Making 8.6 Class 6 - Teracotta Workshop / Pot Painting 8.7 Class 7 - Dance 8.8 Class 8 - Music 9. Permanent and Temporary galleries 10. Semi Open Workshops 11. Library
D W31
DETAIL IN SHEET XXX
DETAIL IN SHEET XXX
3400
W40 DETAIL IN SHEET XXX
aa'
1. Local Vendors 2. Commercial Shops 3. Reception 4. Atrium - Multifunctional Space 5. Stadium 6. Hostels 7. Tribute Museum For Haryana Athletes 8. Kala Academy Classes 8.1 Class 1 - Panja Durries 8.2 Class 2 - Zari Jutti / Mudah Making / Bangles 8.3 Class 3 - Hand Embroidery
L
LVL + 116.9
4 2
Legends
A
FREE ROAM SPACES
13850
1
cc'
N
W13
DETAIL IN SHEET XXX
V
B
W12
C
WORK SHOP SEMI-OPEN
CORRIDOR /VOID THROUGH ALL SPACES DETAIL IN SHEET XXX
W31 DETAIL IN SHEET XXX
aa'
RANGES
ARAVALLI
W32 DETAIL IN SHEET XXX
3200
2
3
W33 DETAIL IN SHEET XXX
6300
7
ARAVALLI
RANGES
1
8
B
W34
DETAIL IN SHEET XXX
1
2
1 5
COMMERCIAL
HIGH ACCESSIBILTY
1100
1
aa'
ARAVALLI
2
The building also revolves around a free circultion system which allows all to admire the beauty of arts and crafts of Kala academy, and semi open workshops, visually as well as physically.
RANGES
1
1
ARAVALLI
RANGES
aa'
It allows people to interact and share the space with thousands of other people creating it a highly democratic space.
K E N D R A
W19
aa'
D18
E
D14 DETAIL IN SHEET XXX
DETAIL IN SHEET XXX
7
DETAIL IN SHEET XXX
O
W40
DETAIL IN SHEET XXX
K A L A
W41
DETAIL IN SHEET XXX
G A L L E R I E S
D16
DETAIL IN SHEET XXX
5
W31
DETAIL IN SHEET XXX
DETAIL IN SHEET XXX
RANGES
Bazzar in the lower space acts a s a free access area, accessibe to all irrespective of any economic or social differences. This creates a space that can increase the civic engagement of A people within a space. 6
W32
W33
DETAIL IN SHEET XXX
ARAVALLI
L
RANGES
P E R M A N E N T
ARAVALLI
NO PHYSICAL BARRIER FOR BIRDS. They feel their own sense of freedom in the bazaar as well as spaces above it
FALSE CEILING FOR DETAIL REFER SHEET NO. XXX
C C
SECTION CC'
SECTION CC'
11
Plan Marked With Democratic
Interventions
Plan Marked With Provocations PROVOCATIONS : NO PHYSICAL BARRIER FOR BIRDS. They feel their own sense of freedom in the bazaar as well as spaces above it
CENTRAL ATRIUM AND BAZAAR around it encourages higher civic engagement
4
RANGES
DIGITAL SCREENS Displaying the ongoing and upcoming functions in the kala kendra
WATER CHANNELS are the major provocative force in the circulation of users
1
6
5 7
1
1
1
2
7
A R A V A L L I
5
1
2
1 1
2
1
2 4
2
1
3 2
3
2
RANGES
R A N G E S
1
ARAVALLI
PUBLICALLY OWNED AND UNIVERSALLY ACCESSABLE CIRCULTION idea
ARAVALLI
7
Water Channels Exposed Vertical Circulation Digital Screens Tilted Walls Sculpture
TILTED WALLS are derived from the movement of user's circulation so as to enhance a person's movement towards a certain path or space.
2
LANDSCAPE AROUND THE BUILT
PROVOCATIONS as digital screens and water channels
1
1. 2. 3. 4. 5.
8
5
R O A D
4
5 6
RAMPS AND STAIRS ARE ACCESSIBLE TO ALL allowing all kinds of people to visit galleries and kala academy classes MULTIPURPOSE CENTRAL URBAN PLAZA ENTRANCE - EASILY AND FREELY ACCESSIBLE TO ALL KINDS OF PEOPLE
2
RAMPS AND STAIRS ARE EXPOSED To provoke more user circulation towards kala kendra classes and art galleries
SCULPTURE here creates an interest and curiosity for the passers by (pedestrian+vehicular).
3
14
Rendered
Views
ENTERANCE GATE Fig. View from Enterance gate of the Kala Kendra. The tilted walls act as a welcoming 'delegate' allowing more footfall to happen in the bazzar area. Such TIlted walls are nothing, but provocative energies in the design
CENTRAL ATRIUM Fig. View from Central Pit that recharges the ground water for the neighbouring region. It also becomes an ecological intervention in the structure by cooling the surroundings with the help of evaporation and condensation
ONE OF THE SITE CORNERS Fig. View from endmost corner of the site showing the provocative angles that depict the mountainous terrain it is built upon.
03
TAT TVAM ASI.
B F
A COLLABORATIVE HYBRID HIGH RISE STRUCTURE Typology Site Location Site Area Semester Studio Partners
Mixed - Use Building Sector 54 Metro Station, Gurugram, Haryana ( India) 2.5 Acres Semester 6 Architectural Design Prakhar Rastogi
U B B L U T U R E
E S
ACCELERATE THE CITY 2
T O P
1 6
0
1
7
F I N A L I S
T S
Project
Narrative
Program
Narrative
FORM AS
2 edge connected T E S S E R A C T S Upper and Lower Tesseracts differ in size
MODULE | TESSERACT
SEARCHING GURUGRAM Sprouted through thick and thin, I am a body, who caused no sin. But still cursed by earthling, Who never stop searching, For a life with meaning. I was made with no plan, And no heart of itself, But mind was kind, To provide man, with all the grind. Image as I am, more than personage, Gazing upon the earthlings, Who live like renegade, For providing my cells, With an instrument, To be collaborative And intimate. That instrument, beyond the conscious, Is the fourth way of spiritualness, Fourth way of one man-ness, And fourth way of motion-ness.
SITE AS
H E A R T O F G U R U G R A M
Dear you, I give this instrument, Play with it, In our spaces And grandstand among other cells, Portraying the real essence, Present within ourselves, Temporally.
COLLABORATIVE-NESS The planning and development of Gurgaon has in a way affected the inner energies of its residents. The people of Gurgaon are becoming not just a part of this privatized community, but they have instead lost the spiritual connection with inner consciousness and outer reality.
isometric tesseract | weekday Smaller central collaborative space
Our Project revolves around the central idea of collaborative cloud which forms the nucleus of collective liveliness and tries to create realizations related to the thought that “You are what you seek for (looking towards self-development) and people around you are a part of the universe you revolve with. (Power of unity)”
the fourth way of consciousness This is achieved in our project by the divulgence of collaborative spaces in the built environment that keep on changing with respect to time allowing them to amalgamate with people from other spaces. When the structure would revolve around this central core of collaborative hub, people would engage themselves more to these static stations enhancing themselves with outer reality. This temporality, hence, is the basis of the fourth way (higher consciousness) of looking towards spaces.
temporal nature of consciousness
isometric tesseract | weekend Larger central collaborative space
17
Temporality
and
Extended
Collaborativeness
Cores
Programme Distribution TUCKMAN MODEL 4 STAGES OF COLLABORATION
b u i l d i n g relationships; encouraging the purpose and expectations; Orientation stage of being collaborative
Expected to push out the boundaries; introduction to core thought of collaborativeness; Further after this stage, [people may divide or may stay together on the basis of their respective conjectures.
FORMING
STORMING
4
But either way, no matter they stay introvert, extrovert or ambivert, they remain susceptible to the idea of collaborativeness, encouraging them to bring more people together and encourage them in their work and thus increase their efficiency and creativity.
Once the users pass the above stages, they are expected to execute and achieve high level of COHENSIVENESS leading to a better living environment for one and all
NORMING
U P P E R
40X40X40 M
Micro - Housing
Capsule Housing
Common Amenities
HOTEL ACCOMODATION HOTEL COMMON SERVICES
SEMI - PUBLIC SPACES • CO WORKING OFFICES • ART WORKSHOPS • CLOSER ART GALLERIES PUBLIC SPACES • OPEN ART GALLERIES • OPEN PUBLIC GARDENS
COLLABORATIVE FLOOR SLAB
UPPER TESSERACT
LOWER TESSERACT 50X50X50 M
Ecotel
Hotel and restaurants
In stage A.01 we can see hotel slabs moving up and the co working offices and art and craft spaces coming out to provide an extensive collaborative cloud.
B
C
Stagnation stage
Stagnation stage
In stage B, we can see the 8 slabs converting itself into 4 slabs to increase the scale of the space which changes the sense of space from co working to art and craft gallery.
In stage C the slabs go apart creating a central space with higher ceiling height.
Uncoax - Co Working Space Synesthetia - Art Galleries
Collaborative Space
SCHOOL WITH NO WALLS CLOSED ART GALLERIES OPEN ART GALLERIES ART WORKSHOPS RETAIL SHOPS FOOD COURTS AUDITORIUM/OPEN THEATRE LOCAL VENDORS
Bazaar - Retail Shops + Food Vendors Synesthetia - Art Galleries
D
UPPER TESSERACT
DEMOCRATIC LOWERMOST SLAB LOWER TESSERACT
The stagnation stage A is the stage during a weekday. The lowermost 4 slabs have bazaar and art and craft. The floor above it is the slab for collaborative cloud.
LOWER TESSERACT
E
Stagnation stage
Stagnation stage
In the final stagnation stage D&E, we can see the slabs going again inside and slabs of hotel common spaces coming down to take part in the collaborative hub.
The art and craft slabs here become collaborative spaces.
Art Galleries and Spaces
Lowermost Slab
Intermediate stage
SYNESTHETIA AND RETAIL BAZAAR • • • • • • • •
Democratic
Stagnation stage
TESSERACT
Collaborative Space Club House And Other
A.1
LOWER • •
UPPER TESSERACT
A
Bazzar (Art and Craft +Retail + Food court
TESSERACT
PERFORMING
Co - Working Areas
3
Residential
2
Hotel
1
ENTRY POINTS A|
Building Site Plan
Entry through golf course road for pedestrians as well as vehicles
18
TEMPORALITY / W E E K E N D B
SECTION / W E E K E N D B
TEMPORALITY / W E E K E N D F
SECTION / W E E K E N D F
B|
Entry only for pedestrians through metro station's escalator. C|
Entry only for pedestrians through metro station's escalator. D|
Entry only for pedestrians through metro station's escalator. Escalators at B, C, and D ends at metro station, from where two escalators takes the user to the democratic slab
VIEWING DECK
RAPID METRO D
A B
OPEN GREEN CONNECTED WITH DEMOCRATIC SLAB
C
W E B S I T E TAT TVAM ASI PROJECT TRIANGULAR SITE TEMPORAL ARCHITECTURE TAT TVAM ASI
SCAN QR CODE
(www.tattvamasihr.com)
(INCLUDES MEDICLINIC AND RETAIL)
BYPRAKHAR RASTOGI | VAIBHAV GUPTA
UPPER TESSERACT COMMUNITAS
(INCLUDES RESIDENTIAL AREA)
LOWER TESSERACT
(INCLUDES BAZZ[AR]T, SYNESTHETIA- ART AND CRAFT CENTRE, [UN]COAX - CO WORKING SPACE AND HOTEL)
HELIPAD
PROJECT WEBSITE
https://www.tattvamasihr.com/
SCAN QR CODE
04
KHOJ [PASSING BY]. A
COMMUNITY
Typlogy Site Location Site Area Semester Studio Partners
OF
ARCHITECTURE
Working Space Bangalore , Karnataka ( India ) 3 acres Semester 6 Competition Entry (The Master Studio by Archmello) Adit Gupta, Prakhar Rastogi
AND
DESIGN
A R C H M E L L O
THE MASTER STUDIO 2
0
2
H O N O U R A B L E
0
M E N T I O N
7.09 % 68.2 %
Project Narrative
Concretization Vegetation
78.7 % 6.86 %
Concretization Vegetation
Program Narrative
STUDENTS
STUDENTS
MUMBAI 6850 architects
No. of Architects per city
PROFESSIONALS
approximately 90, 796 architects in India
PROFESSIONALS
1973
Bangalore Map
4
REFLECT
3
IMPLICIT
2
EXPLICIT
1
SET
FADING GREENERY
Results of constant spatial and population growth
6145 architects
PUNE 4834 architects
CHENNAI 4300 architects
3767 architects
SITE
I N T R O D U C T I O N
COMMUNITY OF ARCHITECTS AND PROFESSIONALS Architecture is not only a form of visual art but also a form of spiritual, emotional, illustrative, and theoretical art. And as said by Van Gogh, The best way to learn any art form is by observing and practicing. Designing in real world is more about understanding the client’s needs & vision, considering the budget, social trends, giving priorities to the context, about working with different agencies & so on.
THE
Finding ways to better integrate both education and practice is of paramount importance because doing so will better equip students and emerging professionals to step into practice with confidence and set them up for success.
Keeping in mind the above-mentioned thoughts, the built form was divided into 4 stages to effectively engage learners emotionally, physically, and intellectually with the professionals, leveraging both conscious and unconscious attainment of knowledge.
The project hence incites architecture and design students to step outside their own worlds and teach them to think more about the real world implications of their work.
They ensure that explicit knowledge is integrated into implicit knowledge in a way that makes it useful and persistent.
SET | STAGE 1
STAGES TO EFFECTIVE LEARNING
Stage where students encourage and inspire themselves as well as observe and document thoughts, and works of other accomplished professionals/fellow mates to set a goal for focused learning.
Bangalore Map
CITY CENTRIC STUDY
NEW DELHI
BANGALORE
2017
SEEK (EXPLICIT LEARNING) STAGE 2
|
This stage is structured around practices that involve active listening, seeking clarification, research, and critical thinking which happens by accessing the academic and scholarly materials and by listening, which connects us to a specific subject at a critical level.
APPLY (IMPLICIT LEARNING) | STAGE 3
Implicit knowledge is the practical application of explicit knowledge. It is structured around the practices that include action-learning, project-based learning. It is a stage of rehearsing yourself by applying explicit knowledge in the everyday world.
REFLECT | STAGE 4
In the final stage, students are encouraged to gain constructive criticism from professional architects and work with the feedback received. It allows them to cultivate humility and to overcome their cognitive biases.
21
Module Elevation
Reshaping the Modules
TETE-A-TETE
A
TETE-A-TETE
ABOUT THE MODULE
“Tête-à-tête” literally means “head-to-head” in French, and the seating creation allows just that. Its S-shaped, serpentine form encourages two people to face each other and engage in conversation, yet still be visually tied to their surroundings.
The module is divided in such a way that the professionals and students can have their own personal spaces, but still stay tied/ connected through an inclined semi private area (the reflect stage) to encourage a collaborative and higher practical sharing of knowledge.
The thought behind creation of such a furniture that can engage people in intimate conversations, led to the development of a module that works on a similar phenomenon.
The students also get easy access to the informal areas of implicit spaces like offices, through this inclined semi-private area i.e THE REFLECT STAGE.
| as per the need of the spaces and its position in the built form
MODULE'S FORM GENESIS
M7 T
ICI
L MP
I
6600 mm 6600 mm
LE
6600 mm 6600 mm
CIT
M6
9900 mm
G.L.
I
PL
EX
M5
6600 mm
RE F
Adding a semi private, collaborative space between the two to allow easier and increased communication
6600 mm
6600 mm
CT
B.3
M8
6600 mm
6600 mm
M1
IT
MODULE 1
M2
Explicit | Library (Literature, Design Philosophy) Implicit | Studio Small Firm
MODULE 2
Explicit | Library (Art, History, Planning,Urban) Implicit | Studio Small Firm
M3
MODULE 3
M4
Explicit | Workspace (60 students) Implicit | Studio Medium Firm
Explicit Implicit
MODULE 4 | Library (Digital Library) | Studio Small Firm
D.2
Modules On 6th Floor And 7th Floor
LIC
P IM
C.2
Proximity of two implicit space to every explicit space for better communication between architects and students.
B.2 Creating
a separation between implict and explict spaces
M4
IT
LIC
P EX
M3
IT
LIC
P IM
6600 mm 6600 mm
B.1 Dividing
the module into two halves of implicit and explicit spaces
T
ICI
L XP
E
6600 6600 6600 6600
M1
mm mm mm mm
M2
6600 mm 9900 mm
D.1
Modules On 4Th Floor And 5th Floor 1st and 2nd Floor SET STAGE
Bangalore thrives of spaces . The upliftment gives a clear space for encouraging pleasent
(Dividing - Creating - Adding)
C
M6
Explicit | Research Lab Implicit | Studio Medium Firm
Explicit Implicit
MODULE 6 | Library (Construction Section; Material lab) | Construction Workshop | Digital Design Lab
open green public of built form by 10m a public garden below and cool afternoons
VERTICAL AND HORIZONTAL STACKING OF STAGES (As Per The Site Requirement And Proximity Of Spaces in built form)
M7
MODULE 7
M8
Explicit | Seminar Hall Implicit | Studios Medium Firm
Explicit Implicit
MODULE 8 | Workspace for Freelancers | Studios Medium Firm
| to augment communication and intimacy between professional and students
3rd Floor REFLECT STAGE
G. Floor PUBLIC
B + C
C.1
MODULE FORMATION AS PER THE NARRATIVE
MODULE 5
Furniture used in Reflect Stage
6600 mm
B
M5
D
STACKING OF SPACES
(Modules Reshaped As Per The Needs Of The Space Assigned And The Placement On Site Grid)
Planks And Blocks Seating
Blocks can be kept on each other to increase the height, as per the user requirement
Net Hammocks
Acts as a relaxation space where professionals and students can communicate and create a friendly association with each other
Rotatable white board panels Allowing professionals to easily review the Students and their work.
Expandable Discussion pods with inner white board surface Creates a semi-private space for open as well as private discussion
Co-Benches
Centrally aligned benches to provoke users to invogorate higher intimacy
Voided Wall Panels
Provides a Cozy and Personal space for the users and also as Discussion area for students and architects
OSP IT
AL R
AD
AH
ADJACENT SITE
MEN
ELEVATOR B
STORE ROOM
ELEVATOR B
AKE
L
RA
AVA
NAG
S
ARD
TOW
L RO
AD
Outer Skin
D
A E RO
VIC
SER
PHIL
OM
ELEVATOR C
(ACCESSIBLE ON BOTH SIDES)
PHIL
DN
OM
ELEVATOR C
EN
Adjacent A HOSPIT AL R OA Barren land D
DOWN
ADJACENT SITE
UP
DN
ELEVATOR D
UP
UP
ELEVATOR E
RK R
+700
O
N
E
R A M P S L O P E 1 : 10
BASEMENT EXIT
25
VAR S ARD
S P A C E F O Y E R
UP
S P A C E F O Y E R
AUDITORIUM_01
MAN FIRST FLOOR PLAN +11400
SCALE BAR 1:1000
D ROA ICE ERV P S FIRST FLOOR PLAN +11400 HILO M
ENA
E
VIC
SER
HOS
PITA
Amphitheatre
L3, L2
25
ADJACENT SITE
15
UP
ELEVATOR D
ELEVATOR E
L15
CAFETERIA
O
P
E
N
D
I
S
P
L
A
Y
A
R
E
A
OPEN DISCUSSION AREA / HANGOUT SPACE
C O M M U N I C A T I O N
B O A R D
ELEVATOR B
Informal Working Area
UP
UP
ACOUSTIC SLIDING FOLDING PARTITION WALL
PROGRAM
UP
DOWN
/
RECOMMENDATION AREA
U
S
H
I
O
N
E
D
S
E
A
T
I
N
G
Q W E R ! | "2 @3 1 · # $ 4 F1
F2
T
% 5 F3
& ¬ /7 6 F4
G H J (8 F5
) 9 F6
.:
K L
0
F7
Ѩ ´ _ -
1
^` [ *+ ] ç
¿ F8
F9
F10 F11 F12
4 7
. 2
Intro
3
5
6 9 *
< >
+ ª \ º
Q W ! | "2 @3 1 · #
Esc
5
& ¬ 7 6
U
8
F5
9
F6
M
F7
F8
O
{
[
]
F10 F11 F12
8
Intro
+
2 @3 # F1
F2
C D
Q W E R
1
Esc
F3
¬
F4
N M
G H
Y U A F5
F6
F7
F8
Ñ
O P
{
F9
F10 F11 F12
8
Intro
X C V B N M
A S D F Esc
Q W E R T @
#
F1
F2
F3
%
F4
G H
Y U A F5
F6
F7
K F8
Ñ
O P
F9
8
C O M M U N I C A T I O N
CAFETERIA
MODEL DISPLAY AREA
(ACCESSIBLE ON BOTH SIDES)
Intro
F10 F11 F12
E R A Y
DN *
8
.
{
{ ´ ¨ ç ] * [ `
/
:.
¡
;,
I
'
F8
F7
) 9
(8
F6
F5
/7 ¬ 6
5
< >
4 # 3 · @ "2 | 1 !
º \ ª
0
3
2
1
6
5
4
9
-
*
7
.
{
{ ´ ¨ ç ] * [ ^`
/
.:
¡ ¿
;,
' ?
J
I 0
) 9
(8
/7 ¬ 6 &
5
< >
+
4 # 3 $ ·
"2 | 1 !
º \ ª
-
0
3
2
1
6
5
4
9 *
7
.
{
_
{ ´ ¨ ç ] *+ [ ^`
/
.:
;, L
¡ ¿
' ?
J
I 0 =
) 9
(8
F
/7 ¬ 6 &
Z
5
4 $
< >
+ · 3
"2 | 1 !
º \ ª
-
2
1
5
4
9 *
I
B
R
A
R
L9
Y
0
3 6
7
{
_
´ ¨ ç ] *+ [ ^`
/
.:
;, L
¡ ¿
K J
' ?
I 0 =
B V
) 9
(8
X Z
F
T /7
6 &
< >
S A % 5
4 $
·
" | !
º \ ª
ADJOINING ROAD
FIRST FLOOR PLAN +11400
15 5
UP
ELEVATOR A
HANGING SHEETS DISPLAY
DOWN
SCALE BAR 1:1000
0
N E P O
DN
GARDEN + VIEWING DECK
N 0
5
15
25
I s o m e t r i c E x p l o d e d 3D
LAK RA AVA NAG
L15, L14, L8, L7
(ON 5 m X 5 m GRID)
Terrace Floor ROOF AS RESEARCH HUB
50
PROGRAMS
SCALE BAR 1:1000
• Research Lab (Laboratory) • Storage(Mechanincal and Biological) • 2 Gantries with 3d printing technology • Indoor workspace • Outdoor workspace
FIFTH FLOOR PLAN +31200
Fifth Floor Plan +31200
E
With Informal Space
ADJOINING ROAD
L15
25
D
I
S
DN
Esc
A
OPEN WAITING LOUNGE |DISCUSSION ZONE GARDEN
X C V B N M ;,
A S D F ª \ º
A
Z
< >
+ -
L
9
P
6
UP
0
Intro
3
2 5
A U Y
=
1
' ?
¡
0
P O I
4
{
7
DN
.
{
F10 F11 F12
8 /
+
-
F9
F1
_
F2
^
4 $
F3
Ñ
%
¿
R E
F4
O P
/
?
D S A
Y T (
K L
)
0 =
A
0 =
G H J
H G F
I
Y U A
N B V C X Z
K J ' ?
&
;,
F4
P
X C V B N M
.: Ñ L ¡ ¿
F9
%
^`
F3
*+
Z
_
´ ¨
ç
$
{
F2
7
/
A S D F
1 4
*
F1
2 5
9
Q W E R T
0
3 6
Esc
-
+
º \ ª
Intro
" | !
8
·
F10 F11 F12
4 $
+
< >
S A % 5
F9
6 &
_
T
Ñ
X Z
F /7
O P
(8
F8
B V
) 9
K L
0 =
=
I
F7
K J
' ?
F6
;, L
¡ ¿
G H
.:
F5
_
´ ¨ ç ] *+ [ ^`
Y U A
.
{
F4
7
/
X C V B N M
1 4
*
%
2 5
9
F3
0
3 6
Z
-
F2
º \ ª
A S D F
+ "2 | 1 !
F1
< >
· 3
Q W E R T
4 $
@
Z
5
Esc
/7 ¬ 6 &
Intro
(8
8
) 9
F10 F11 F12
0 =
F9
J
I
Ñ
' ?
O P
;, L
¡ ¿
F8
.:
K
_
{ ´ ¨ ç ] *+ [ ^`
F7
.
{
F6
7
/
G H
1 4
*
F5
2 5
9
Y U A
0
3 6
F4
(ACCESSIBLE ON BOTH SIDES)
L .
+ -
X C V B N M
PROTECTED DISPLAY AREA
W A L L
C
%
UP
I N
GREEN ROOF
F3
ELEVATOR C
V O I D S
PLANKS + BLOCKS STORAGE
F2
ELEVATOR B
S E A T I N G
UP
STORE ROOM
WORKSPACE FOR 60 STUDENTS
*
-
DN
KITCHEN
(WALK-TROUGHS, ANIMATIONS, VR)
ABOUT THE BUILDING DISPLAY AREA
UP
{ 9
LIBRARIAN DESK
50
6
A S D
D
UP
UP
ADJACENT SITE
B O A R D
F4
F9
7
5
#
ROA
P R I V A T E
D I G I T A L L I B R A R Y + D I G I T A L L E A R N I N G C E N T E R
F3
0 = ' ? ¡ ¿
+ *
4
3
+
Intro
DOWN
P
1 2
8
.
F2
A I
] ç
0
F1
U
F10 F11 F12
UP
_
´ {
ADJOINING ROAD
Y
¨ ` ^ [
ICE
T
O
V SER
$
R
F8
D
E
F7
N M
Ñ
F6
L
) 9
K
F5
J
( 8
-
G H
, ;
. :
& / 6 ¬ 7
X C V B
ROA
+
S P A C E
UP
% 5
ICE
DN
L I B R A R Y
DOWN
Z
V SER
+ B L O C K S T O R A G E \ + L I B R A R Y O F F I R M
R E C O M M E N D E D
A S D F
A TE
CH
PAR
K RO
AD
LIBRARY (Construction Section)
P L A N K S
H A N G O U T
> <
CORE
GREEN ROOF
Q W
STUDIOS SMALL FIRM
REFLECT SPACE
DN
! " · 1 | 2 @3 # 4
WORKSHOP
50 ELEVATOR A
FIRST FLOOR PLAN +11400
Reflect 1
L12
M
U
I
R
T
Esc
L17 L18 L19
SCALE BAR 1:1000
A
ª \ º
SEMINAR HALL
STUDIOS MEDIUM FIRM
25
ELEVATOR E
(CAN BE USED FOR PODS OR CO-BENCH)
A R E A
L16
WORKSPACE (30 freelancers)
15
5
0
ELEVATOR D
GATHERING AREA
INFORMAL
Reflect 3
UP
D I S C U S S I O N
AUDITORIUM
WORKSPACE (60 students)
Open Green Space
Parking
O P E N
L6 L7 L8 L9 L10
RESEARCH LAB
(CAN BE USED FOR PODS OR CO-BENCH)
A R E A
CAFETERIA
L11 L12 L13 L14 L15
N
GATHERING AREA
VENTILATION LOUVRE
L1
DOWN
D I S C U S S I O N
BASEMENT
DN
Reflect 2
O P E N
L1 L2 L3 L4 L5
-1
ELEVATOR C
UP
UP
F1
CODE
L12, L9, L15
5
Reflect 4
C O M M U N I C A T I O N
OPEN DISCUSSION AREA / HANGOUT SPACE
AUDITORIUM_01
ELEVATOR E ELEVATOR D UP
Water Channels
INFORMAL
LIBRARY (Digital Library)
Informal Office Working Area
B O A R D
Q W E R T
ADJOINING ROAD
DOWN
ACOUSTIC SLIDING FOLDING PARTITION WALL
(WALK-TROUGHS, ANIMATIONS, VR)
MODEL DISPLAY AREA
6
Reflect 5 &6 Connected with a bridge
UP
UP
ABOUT THE BUILDING DISPLAY AREA
OPEN WAITING LOUNGE |DISCUSSION ZONE GARDEN
L14, L11, L10
ENA
S P A C E
UP
B O A R D
F O Y E R
ELEVATOR A
C O M M U N I C A T I O N
AUDITORIUM_02
With Informal Space
HANGING SHEETS DISPLAY
DOWN
(ACCESSIBLE ON BOTH SIDES)
DN
GARDEN + VIEWING DECK
GROUND FLOOR PLAN +1500
LIBRARY (Art, History, Planning, Urban Design)
Open and Closed display Area
Bumps
Adjacent HOS PITA Barren land L ROAD
KITCHEN
LIBRARY (Literature, Design Philosophy)
G
N
DOWN
Reflect 7
DN
UP
DISPLAY AREA
1
To Combine 2 Auditoriums into 1 bigger Auditorium
D ROA
DN
7
'About the building' Display
L4, L6, L5
AD
DOWN
RECEPTION
Sliding Acoustic Panels
OM
UP
BAZAAR
D ROA ) ING E R ROAD ID G TW 30 M 0 FT RIN ( 10
L RO
(ACCESSIBLE ON BOTH SIDES)
DN
PROGRAM
'About the Building' Display
PHIL
SCALE BAR 1:1000
L16, L13, L17, L14
L4, L6, L5
YA
N
AUDITORIUM_02
OAD
RK R
H PA
EC TA T
50
50
UP
Public Garden on the Ground Floor
LEGENDS
25
ELEVATOR C
UP
Workshop with Gantries
Reflect 8
PROTECTED DISPLAY AREA
Ground Floor Plan +1500 CODE
AUDITORIUM_02
YA
MODEL DISPLAY AREA
(WALK-TROUGHS, ANIMATIONS, VR)
ELEVATOR A
0
TOW
50
15
5
@
25
A NAG
N
S
ARD
TOW
KE
A LA
VAR
A NAG
2
Model Display Area
UP
UP
Esc
15
D ROA ) ING E R ROAD ID G TW 30 M 0 FT RIN ( 10
15
ELEVATOR B
MODEL DISPLAY AREA
Intro
ADJOINING ROAD
5
Services area
L6
B O A R D
ACOUSTIC SLIDING FOLDING PARTITION WALL
(WALK-TROUGHS, ANIMATIONS, VR)
8
SCALE BAR 1:1000
0
ADJACENT SITE
STORE ROOM
C O M M U N I C A T I O N
UP
ABOUT THE BUILDING DISPLAY AREA
F10 F11 F12
5
T O I L E T
B O A R D
UP
{
0
R EPRO G RAPH IC S
YAT
UP
PEDESTRIAN ACCESS
G UAR D R OO M
P A T C H
OPEN DISCUSSION AREA / HANGOUT SPACE
C O M M U N I C A T I O N
F9
DOWN
VEHICULAR ACCESS
MAN
HANGING SHEETS DISPLAY
G R E E N
(ACCESSIBLE ON BOTH SIDES)
AUDITORIUM_01
ELEVATOR A
+
CAFETERIA
A
Ñ
Guard Room
W A L L
ADJOINING ROAD
Stationary Shop
FIRST FLOOR PLAN +11400
W A T E R
E
ADJOINING ROAD
Z
HOS
F
ENA
F
OM
O
PHIL
P
KE
O
A LA
R
S O F T S C P E D R A MP S L O P E 1: 10
UP
DOWN
L RO R A M P S L O P E 1 : 10
BASEMENT ENTRY
D
R
First Floor Plan +11400
School with No walls
PITA
UP
+450
A
O P
0
SCULPTURE
SCULPTURE
Y
F8
OPEN WAITING LOUNGE |DISCUSSION ZONE GARDEN
+3450
IRON FENCING
AD
50
+450
+2450
+1950
0
ADJOINING ROAD
+2950 +2200 +1700
E
K A LA
R
AVA
ELEVATOR E
N ADJOINING ROAD
STAGE SCULPTURE
+1450
OPEN WAITING LOUNGE |DISCUSSION ZONE GARDEN
HANGING SHEETS DISPLAY
UP UP
STP + RAIN WATER + BIOGAS + GENSETS + METER ROOM + TRANSFORMERS (AS PER SERVICE PROVIDERS)
MODEL DISPLAY AREA
ELEVATOR A
+1200
A
F7
(WALK-TROUGHS, ANIMATIONS, VR)
A
TOW
UP
AG
N RDS
SCULPTURE
RVIC
S P A C E
ABOUT THE BUILDING DISPLAY AREA
+450
GARDEN + SEATING AREA
D
A E RO
SE Amphitheatre
DOWN
+950
UP
UP
B O A R D
ABOUT THE BUILDING DISPLAY AREA (ACCESSIBLE ON BOTH SIDES)
CAFETERIA
A E R A Y A L P
RA M P S L O PE 1 : 1 0
-450
50
L
DN
STORE ROOM
ELEVATOR E
DOWN
L3
P
DN
S
MONTHLY PAVILION AREA +450
ELEVATOR D
+450
S
I D P O
MONTHLY PAVILION AREA +450
DOWN
MAN
ACOUSTIC SLIDING FOLDING PARTITION WALL
UP
C O M M U N I C A T I O N
B O A R D
OPEN DISCUSSION AREA / HANGOUT SPACE
UP
KITCHEN
1 3
+450 0 +900
GARDEN + VIEWING DECK
S HO P
DN
1 2
I
OPEN WAITING LOUNGE |DISCUSSION ZONE GARDEN
(ACCESSIBLE ON BOTH SIDES)
S H OP
PROTECTED DISPLAY AREA
1 1
AUDITORIUM_01
ELEVATOR E ELEVATOR D UP
DOWN
DN
ADJOINING ROAD
S P A C E
D E VIC SER
DN
Monthly Pavilion area
UP
SH O P
D
N M
AUDITORIUM_02
ROA
9
5
SHO P
D
ROA
SCALE BAR 1:1000
SHO P 8
FIRST FLOOR PLAN
N
F6
AUDITORIUM_01
UP
D
SHO P 7
6
E VIC SER +11400
E
UP
DOWN
N
SH O P
D ROA ) ING E R ROAD ID G TW 30 M 0 FT RIN ( 10 P
HANGING SHEETS DISPLAY
E
5
C O M M U N I C A T I O N
S H O P
50 ELEVATOR A
SER
4
SCALE BAR 1:1000
GARDEN + VIEWING DECK
G H
AUDITORIUM_01
S H O P
ELEVATOR D
F5
AUDITORIUM_02
B O A R D
1 0
Open Discussion/ hangout space
DN
O
E VIC
3
L5
DOWN
Y U A
C O M M U N I C A T I O N
F O Y E R
S H OP
ROA
+900
UP
S H O P
+450 0
UP
DN
DOWN
25
Retractable Roof
(ACCESSIBLE ON BOTH SIDES)
KITCHEN
15
L17
PROTECTED DISPLAY AREA UP
UP
5
3
Digital Display Area, Art and Sheet Display Area
L4
UP
0
T
AD
ELEVATOR C
C
B O A R D
L2
AD
ACOUSTIC SLIDING FOLDING PARTITION WALL
+450 0 +900
K RO
UP
2
PAR
UP
S H O P UP
UP
ELEVATOR C
UP
CH
MODEL DISPLAY AREA
ELEVATOR B
+900
1
A TE
(WALK-TROUGHS, ANIMATIONS, VR)
S H O P
UP
UP
ELEVATOR B
STORE ROOM
¬
ACOUSTIC SLIDING FOLDING PARTITION WALL
+450 0
MODEL DISPLAY AREA
UP
DOWN
YAT
S P A C E
ABOUT THE BUILDING DISPLAY AREA
OPEN WAITING LOUNGE |DISCUSSION ZONE GARDEN
DOWN
B O A R D
ACOUSTIC SLIDING FOLDING PARTITION WALL
(WALK-TROUGHS, ANIMATIONS, VR)
F4
C O M M U N I C A T I O N
UP
UP
L RO
B O A R D
D
B O A R D
MAN
C O M M U N I C A T I O N
C O M M U N I C A T I O N
DN
DOWN
SCULPTURE
PITA
UP
UP
F3
DN
DOWN
B O A R D
ABOUT THE BUILDING DISPLAY AREA
OPEN WAITING LOUNGE |DISCUSSION ZONE GARDEN
UP
OPEN DISCUSSION AREA / HANGOUT SPACE
ELEVATOR C
(ACCESSIBLE ON BOTH SIDES)
A
C O M M U N I C A T I O N
F2
E
OPEN DISCUSSION AREA / HANGOUT SPACE
F1
R
A
Q W E R
A
E
2 @3 #
Y
R
1
A
A
Esc
L
Y
UP
P
A
AUDITORIUM_02
S
F O Y E R
I
UP
DOWN
L
Hanging Open Protected Pavilion Display
HANGING SHEETS DISPLAY
ELEVATOR A
ELEVATOR B
CAFETERIA D
P
DN
C O M M U N I C A T I O N
ADJACENT SITE
KITCHEN
S
PA ECH TA T
ADJOINING ROAD
ELEVATOR E
I
F O Y E R
ELEVATOR D
UP
D
ADJOINING ROAD
Bumps
N
(ACCESSIBLE ON BOTH SIDES)
AUDITORIUM_01
UP
E
HOS
New Innovation Display Area
AUDITORIUM_02
DOWN
P
S P A C E
ADJACENT SITE DN
O
GARDEN + VIEWING DECK
CAFETERIA
F O Y E R
ADJOINING ROAD
DN
Water Channel
OAD
KITCHEN
DOWN
Robotic 3D Prinitng Arms
DOWN
UP
DN
UP
ENA
PROTECTED DISPLAY AREA UP
VEHICULAR
+450
PITA
ADJOINING ROAD
RD GUA M ROO
L RO
D
VIC
HOS
OA D
PITA
A E RO
SER
22
AD E RO PHIL OM
ENA
HOS
3D grid
VIC
SER
EXIT
TOW
V GA
ENA
D ROA ) ING E R ROAD ID G TW 30 M 0 FT RIN ( 10
ADJOINING ROAD
KE
LA ARA
NA
OM
Isometric 3D
ADJACENT SITE
S ARD
ARD
TOW
PHIL
RA
AVA
AG SN
SER
E LAK
ADJOINING ROAD
VIC
SER
Plans and
V
D
A E RO
D OA GR RIN AD ) E O ID GR TW 30 M 0 FT RIN ( 10
AD
RO ICE
PHIL O
E
VIC
SER
OA IDE T W RING R M 30 0 FT ( 10
D ROA
N
(the roof provides workshop with gantries and open area that can be used to experiment multiple architectural technologies )
I s o m e t r i c E x p l o d e d 3D (ON 5 m X 5 m GRID)
4 Informal Office Working Area
23
Skin Ideology ABSTRACTION | DISTORTION | FRAGMANTATION | ABSENCE OF GRAVITY | PLURALITY | A LEARNING TOOL Bangalore's architecture today functions around the modernist ideas of creating free-standing and mono-functional buildings. Amid those structures, this facade creates a plurality and convergence of shapes, lines, textures and colours that recreate, in 3D space, a dynamic continuum.
The facade acts as a living cloak that distinguishes itself as an unforgettable visual contrast, against a typically urban backdrop of concrete, steel and glass.
The facade also acts as a learning tool with the juxtaposition of different materials over it. It also expresses the close relation of architecture with the applied art and the need for it in the context of modernist structures in the city with restricted expression of feeling and life. The facade was developed from the diagram made on site (shown below), description of which can be read in the 'Site Conceptualization' Section.
Site Conceptualisation The Malevich brought with himself a Russian avant-garde art movement called 'Suprematism' which unveiled to the world that with a simple set of colors and geometries one can express the pure feeling of abstraction and weightlessness. He used to believe that art was meant to evoke pure feelings and no longer cares to serve the state and religion.
This composition is being characterized by four principles of Malevich's work i.e. abstraction, distortion, fragmentation, and the absence of gravity. It breaks away from the masses around the site and creates a weightless fragmented outer geometry which appears to float against the gravity. It allows us to be free from the burden of the architectonics.
Fig. Diagram capturing the essence and need of the site as per the existing site context
Isometric View
24
Rendered Views and Sectiona l Perspective
100 ft Wide Road
PROFESSIONALS
F
R
O
N
T
Pedestrian Entrance Water Channels L
T
STUDENTS
Philomena Hospital Road
H
Garden
I
A
I M P L I C I T
B
(the roof provides workshop with gantries and open area that can be used to experiment multiple architectural technologies )
R O O F
A S
R E S E A R C H
Guard Room
SITE PLAN
H U B
0
10
20
30
A
C
Site Driveway
K Basement Entrance
50 m
(initial stage)
T
(all red marked spaces)
R E F L E C T
E X P L I C I T
&
(Explicit and Implicit spaces are interlocked with each other as discussed in sheet 5)
S T R A T E G I E S
PUBLIC
S
E
Feedback to the student's work can be given through respective QR codes on each display board.
(accessible to all)
2
C O O L I N G
A'
Entrance
(venturi effect, Courtyard effect, Green buffer on the side exposed to prevailing wind directions, Facade reducies the heat transfer by increasing surface area, many others)
P A S S I V E
3
T
R
1
F
Built form
G
E
Pedestrian Entrance
SECTION AA' BASEMENT Automated Multilevel Parking
05
DOAB
A PROTOTYPICAL Typlogy Site Location Site Area Semester Studio Partners
HOUSING
High Density Residential Indore, Madhya Pradesh ( India ) 6 acres Semester 7 Architecture Design Anahat Chandra
FUTURE OF
INDORE
26
Project Narrative
Program Narrative
URBAN SOCIAL ISOLATION AND FAST PACED LIFESTYLE The increasing urban heterogeneity, is leading us down a path of isolated social living where every one lives in their own bubble, increasing the social distance and apathy among residents.
RESPECT
PROTECT
PROVIDE
A M O N G H I G AND L I G E X I S T E N C E OF P E O P L E
GIVING TENURE RIGHTS H U M A N L I V E S AND DIGNITY PRIVACY PROTECTION
H A B I T A B L E LIVING SPACE A L L N E E D S AVALIBALE TO ALL A C C E S S T O A L L SERVICES
Respect implies noninterference and respecting equal rights of all citizens.
Protect implies ensuring protection from violation of human rights.
Provide implies creating direct provision of service if the right(s) concerned cannot be realised
• Collaborative and intimate spaces; • A p p r e c i a t i n g Diversity of People (Culturally, economically); • C r e a t i n g Connections between LIG and HIG
• Giving Tenant RIghts; • Income generating Area; • Protect their rights and ensure equal provision of services for all; • Protection of privacy
• Provide basic services to all; • Provide Sanitation services to all • Provide from HIG to LIG; Adequate Housing with habitabel and affordable units
Our cities foster a sense of ‘loneliness’; engrossed in a fast paced lifestyle, where people rarely stop to interact and create meaningful relationships with each other. This phenomenon has adversely affected their well-being and mental health.
LIG ECONOMIC GROUP
MILLENIALS
SITE AS
C I T Y
In light of the upcoming ‘smart city’ development in the heart of the city, a large number of people have been displaced forcefully and been made to shift to the periphery of the city.
C E N T R E
KHAN RIVER
Working population between the age groups of 24-39 years
This has led to the rapid expansion of slum settlements in the city of Indore where nearly 1` in 3 people belong to a slum. The promises of compensation by the government to provide affordable and habitable living conditions remain unfulfilled.
SMART CITY : SLUM EXPANSION AND SUPPRESSION
1-2 senior citizens, 2-3 working adults, and 2 young children in a way that the family stays intact. Their income levels range from about Rs. 350 – Rs. 1,800 a month
STUDENTS
INDORE'S MILL AREA
27
P r o g r a m D i s t r i b u t i o n (site)
Economic and Social Model Participatory Slum Upgrading
RE
Essential Components
E
C
Facilities: Daycare Centre, Community Centre, Nearest Schools, playgrounds
T
O V
ID
IP EM | S
PR
SP
Tenure Regularisation: Registration, Demarcation, Documentation, Security
UBLIC
E | PRIVATE
Physical Improvement: Water Supply, Sanitation, Streets, Public Spaces, Power lines, Drainage
Development Programs: Social, economic, health, cultural, educational
PROTEC
T
SOCIAL MODEL
Housing Improvement: Construction, Hosuing expansion, Providing Loans, Technical Assistance
| P UB LIC
Community Participation
Through
Through
MIXED INCOME HOUSING
The program is distributed as such to create efficient flow of public as well as residents through the site by following the heirarchy of spaces from public to semiprivate and from semiprivate to private.
PUBLIC SPACES AS CONDUITS
LOW INCOME GROUP
MILLENIALS
LIG and Mellinials dwelling units are alternatively placed over one another seperated by respect functions like courtyard, and other pockets
P r o g r a m D i s t r i b u t i o n (section)
A
respect functions like courtyard, and other pockets which act as semi private spaces
B
C
RESPECT PROTECT PROVIDE LIG DWELLING MIL. DWELLING
ECONOMIC MODEL
Affordable Housing (30% of Salary)
INCOME SPENT
INCOME GENERATION
INCOME GIVEN
Tenant/Seasonal Migrants Rent [Under the Supervision of Society Management]
INCOME SPENT
INCOME GENERATION
INCOME GIVEN
Basic Amenities purchase
Interdependent
Shops + Housing + Other Needs
Affordable Housing + Luxury Housing
Providing Goods to Millenials + Job under them
Providing Loans + Giving Donations [educational, medical, vehicle, housing, other necessities]
28
Plans
Form
Narrative
VEHICULAR ENTERANCE
Vocational Center Goodwill Center Custom | 1 BHK (5) Module_A (18) Module_B (4) Module_C (8) Module_D (8)
Communitas Custom | 1 & 2 BHK (7) Module_A (18) Module_B (4) Module_C (4) Module_D (10)
FIRST FLOOR PLAN
SECOND FLOOR PLAN
ENTE
RAN
CE
The form acts as the confluence and intertwining of the two social groups – the Millenials and the LIG. Imagining them as two parts of a whole, the form attempts to bridge the social divide, by providing an unified structure where the individual habitats are threaded together through the form.
IC / PEDE S
TRIA
N
Since our site is in an environmentally sensitive area, we imagine the form to be a part of the landscape – an entity rising from it rather than imposed on it. This will keep the form and its inhabitants invested in the community spaces around which the form meanders. Youth Center Custom | 1 BHK (1) Module_A (5) Module_B (4) Module_C (9) Module_D (1)
THIRD FLOOR PLAN
FOURTH FLOOR PLAN
PUBL
CENTRAL SPINE For only pedestrians
Custom | 1 & 2 BHK (3) Module_A (5) Module_B (4) Module_C (7) Module_D (11)
About the Material
VEHICULAR EXIT
GROUND FLOOR PLAN
Drop off Points/ Cores 1. Commercial Shops (bazzar) 2. Cafe 3. Library 4. Reception 5. Courtyards 6. Water Body (Sunken Space) 7. Services 8. Khan River 9. Pockets as Interactive spaces 10. Basement Entry/exit 11. Library
12. Vocational Center (1st) 13. Goodwill Center (1st) 14. Communitas - Co living for Millenials (2nd) 15. Youth Center (4th)
Community Participation Leading To slum upgradation
POCKETS
Legends
The essence of the project is kept quintessentially Indian in flavour. This has been done through the provision of courtlike transitional space, inclusion of water bodies as ghats, and water channels. This thought is reinforced through our material palette consisting of 'Pigmented and textured concrete', 'Exposed concrete', 'Timber', 'Glass'.
Green enhances the elevation Interaction through balconies
Use of Mandala and other Indian arts
Pigmented and textured concrete
The form moves through the site, as if sculpted by the flowing effortless river and wind, creating courtyards as a resultant feature, anchoring the community. The constructed environment and free-flowing water-two opposites unlikely to mix, will entangle with the creation of beautiful dialogue between the two and hence announcing the landscape.
29
Sections
1.
1 2
aa'
2.
bb'
Site plan Key plan
VIEW 1 From Courtyard Looking towards 'pocket' spaces VIEW 2 From Courtyard Looking towards 'pocket' spaces
CENTRAL SPINE
BLOCK 1
BLOCK 2
CENTRAL SPINE
BLOCK 1
4500
3350
3350
3350
6700
3350
6700
BLOCK 2
Section bb'
Section aa'
| Architectural Student and Designer
V A I B H A V
G U P T A
0 9 / 1 2 / 1 9 9 8, JAIPUR, RAJ. vaibhavg094@gmail.com + 9 1 7 0 1 4 8 6 7 5 9 5 80/421, Patel Marg, Mansarovar, jaipur Rajasthan, India 302020
T
H
A
N
K
Y
O
U
Link to Elaborated Project - https://issuu.com/ vaibhavg094/docs/final_portfolio_vaibhav_gupta